Vsevolod Pudovkin, Leonid Obolensky, Sergei Komarov and Vladimir Fogel: Preface to Kuleshov's Book The Art of Cinema

In Chicago this irony is turned into exposure, into satire. It saves the film from generalisation which might turn out to be fatal for that very stratum of the bourgeoisie that the film obviously has no intention whatever of subverting. In our experimental satirical films we often come across an unintended generalisation of the object of ridicule (and that is the main problem with our film satire) and the lesson of Chicago will be very useful for us.